text:
Dear reader,
If you have ever enjoyed any music from this blog please sign and share this petition to save Plastic People: here.
Sunday, February 28, 2010
Thursday, February 25, 2010
Rinse February
We were back on Rinse Thurs 25th, fun set, especially strong on the grime this month.
DOWNLOAD our set here.
Bias & Gurley "Roll" (unreleased)
Monkey Steak "Haarlem Drift" (Steak House)
Roska "Time Stamp" (unreleased)
VVV "Final Frame" (unreleased)
Roska "Squalk" (Rinse)
Zed Bias "Flipper"(unreleased)
Todd Edwards "I Might Be (MJ Cole remix)" (unreleased)
Brackles "6am El Gordo" (unreleased)
Naptha "Soundclash (Grievous Angel funky remix)" (unreleased)
ID and Baobinga "Backfoot" (unreleased)
Girl Unit "IRL" (unrleased)
Cassie "Official Girl (Deadboy remix)" (unreleased)
Kowton "Looking at You (Hackman remix)" (unreleased)
Tiny Tempah "Pass Out (SBTRKT remix)" (unreleased)
B Live & Silencer " Warfare" (unrleased)
D.O.K. "West Coast" (unreleased)
Kaychi "Runaway Strings" (unreleased)
Terror Danjah & Joker "Gully Goon Estate" (unreleased)
SRC "411 Lemsip (Mr Mitch remix)" (unreleased)
Sharkey Major "Shark Attack remix ft Ghetto, Dot Rotten, P Money, Devlin" (unreleased)
Ikonika "They Are All Loosing the War" (unreleased Hyperdub)
Starkey "Starting Gate" (forthcoming Planet Mu)
Amen Ra "Candy Rain" (unreleased)
Kyle Hall "Kaychun" (forthcoming Hyperdub)
No Fixed Abode "Sunset (Mumbai Slum Edition)" (unreleased)
ID and Baobinga "Red Dust" (forthcoming)
Distance "Ill Kontent" (unreleased)
Emika "Double Edge (Pinch remix)" (forthcoming Ninja Tune)
Ramadanman "Don't Change For Me" (forthcoming Hessle Audio)
ID and Baobinga "Man Down" (unreleased)
Blawan "Potchla Vee" (unreleased)
LV ft Josh "Walk It" from "38 EP" (forthcoming Keysound)
LV ft Josh "Face of God" from "38 EP" (forthcoming Keysound)
· Don't forget you can download all our older sets from the Dusk + Blackdown Archive page.
Wednesday, February 24, 2010
Save Plastic People
"There is a light and it can never go out..."
Official Statement from the Management of Plastic People
"Hello everyone and thank you very much for your support. We know that Plastic People is loved by all of you, but we could never have predicted the reactions from so many people in such a short time. It has been overwhelming. On behalf of everyone here at Plastic People, special thanks to Benny Blanco for starting the 'Keep Plastic People Alive' Campaign and to all of you who are showing your appreciation for what the club has done over the last 16 years
Charlotte and I are in no doubt how serious this situation is and as a result had a meeting with the solicitor yesterday. This does not mean that all hope is lost and that Plastic People has come to its end. However, it does mean that we must do all we can to co-operate with the Police and Hackney Council in order to ensure that we can keep the best dance music venue in London open for all to enjoy.
Here is a breakdown of the whole process:
• The police have made an application to Hackney Council for a review the premises licence at Plastic People on the grounds that the way the management have been operating the club has breached the existing terms of its licence and failed to prevent crime and disorder and public nuisance.
• The notice outside the club's premises will be there till the 11th March, which is the closing date for representations to be made by 'interested parties' (unfortunately this does not include you guys, but there may be an opportunity for you to make a contribution, see below) for or against the closure or any other outcome of the review.
• After the 11th, the licensing department at Hackney Council will, within 10 days, write to all parties concerned to invite them to a sub-committee hearing on a given date at a given address where they would make their case. That hearing should take place by the 31st of March.
• It would then be up to the Committee to decide on the eventual outcome which could be one or more of these:
(a) To revoke the license altogether;
(b) To suspend the license for a period not exceeding three months;
(c) To modify the conditions of the license;
Once a decision has been made, we would be notified and in the worst case scenario, we would have the option of appealing, but our current aim is to work with the Police and the Licensing Authority to find a solution that is satisfactory to all. Having never had problems with our licence over 16 years, whether in Oxford Street or Shoreditch, we are optimistic that this will be possible. Whilst the management concentrate on working With the Police and Hackney Council to address their concerns, much still needs to be done. Unfortunately, we can't make the full version of the Police application openly available at this stage. A collection of people involved in the club are setting up a Committee called Friends of Plastic People. They will gather people's experiences of working with and attending Plastic People over the years. They will meet this week and no doubt they will let you know how you can help.
I would urge everyone to hold back on making representations to the Police or the Council in the meantime, but by all means carry on spreading the word.
Once again, my most heartfelt gratitude to all of you!"
Bernard KOUDJO
Plastic People LTD
Curtain Road
Shoreditch, EC2A 3QE
Truthfully, I'd be totally devastated if Plastic People closed down, there's nothing like it in London. It is totally fundamental to London-based bass music: from dubstep to early grime, breakbeat garage to UK funky and broken beat, it has incubated so many amazing sounds that have subsequently gone on to conquer the globe.
Hatcha's sets there changed dubstep forever. Kode9 cut his DJ-teeth there. Burial's "Archangel" was first played there: say no more. I've lost count of the number of my hero's who have played there - I once saw Mala hand over the decks to Wiley and Roll Deep. I've lost count of the number of people who I've seen play there and become a hero of mine and subsequently so many other people around the world.
DJing there was one of the most amazing moments of my life. Privately, I've feared this day for many years: I profoundly hope its not about to come. So we need to fight for this special place.
Please join the Facebook group here. Remember joining the Facebook group isn't the solution just a means to get organised. When the committee called Friends of Plastic People is formed we must support their needs.
Pfork: it's a 130 ting right now...
New column in Pitchfork from me, trying to pull together all the strands of the different funky-catalysed 130 bpm movements.
"It's a 130 ting right now..."
In addition, here's part one and two of an interview I did with the photographer of the Skream Keysound 12" a-side, Greg Tuck.
Friday, February 19, 2010
Monday, February 15, 2010
This is me on Twitter.
Damn I just broke 1000, congrats to Kiev dubstepper Glacial for being the 1000th. Hope you enjoy the Skream 12" fella.
And if 15,301 of you lot add me, I'll break even with Skepta, which would be mental.
Until then I'll just continue to conversate with @Shadrack_Mandem. It's made my day. Laughing is good for you you know, even if Shadrack & the boys make me laugh so hard and so randomly I must look a little weird. I think my funnybone might need re-calibrating.
Sunday, February 14, 2010
Photo: fly on the wall by Gerv LV
I was standing outside Plastic People after the Hyperdub 5 CD listening party last year when someone came up to me and introduced himself. His name was Gerv and what he said made me laugh: turns out he knows the Keysound photographer's sister, who used to be my old flatmate and he's in a band called LV, did I know them? Know them, we'd been playing their dubs on Rinse! We began chatting and after a few Budvars, I confessed my love for a lost dub, "Early Mob" which will - to cut a long story short - be coming out as part of a LV EP on Keysound in April.
While sorting out the EP, he IMed me this infectious South African house track. It set off my "wtf" alarm...
Then he mentioned that not only was he heading to South Africa for Christmas, but he'd clocked some mad music being made, often being circulated by taxi drivers affiliated to local soundsystems. I was fascinated, so when he got back I sent him some questions and sent the boys round to give all of LV Chinese burns until they made a mix to share. Here's what happened...
Blackdown:What brought you to South Africa for this trip?
Gerv LV:I was born in Cape Town and came to London when I was about 6 so I'm kindof English in South Africa and South African in England. I've got a lot of extended family over there so the first reason for this trip was to connect with them.
B:Can you outline loosely what you were up to and where you went?
G:I decided to extend my trip and use it as an opportunity to explore a bit. I got put in touch with a couple of people who put me in touch with a couple of people and I wanted to soak up as much as possible so I just went wherever the music took me. I was based in Cape Town for just over a month but I also got to visit Johannesburg, Stellenbosch, Grabouw, bits of the Eastern Cape. Some random collaborations came together while I was out there which was really exciting, it was great bringing it back to LDN and playing it to my LV guys.
B:We talked before about you having heard of a culture of taxi drivers affilliated with soundsystems, did you encounter any of that while you were there?
G:The taxis are pretty fascinating to me. The way they seem to operate outside the law, the way they zoom past you on the hard shoulder at a million miles an hour. Each taxi is a soundsystem. Normally you hear them before you see them. Always with the DOOF DOOF DOOF DOOF. Some have brightly-coloured designs and names like 'Thunderclap' or 'Masterblaster'. I heard that every year there is a taxi soundclash convention somewhere up in the eastern Cape where they all get together for raves and drag races on the beach roads. Music is clearly vital to the taxi culture. You often hear people referring to "taxi music". To be honest, it amazes me that noone has found a way of using the taxis as a way of getting music into people's ears in a more organized kindof way. I suppose this is just a sign of how embryonic the local music industry is out there, it seems like those channels are all still being formed.
South Africa is a big place so people have to travel huge distances all the time. Last time I was in South Africa years ago I took a bus from Durban to Cape Town and the driver only had 3 CDs. By the time we reached Cape Town 14 hours later I knew every tune backwards! In fact, one of the tracks I remember from that busride was that Mzo Bullet track which has pricked a few ears over here.
I did hear of a couple of people that have benefited from having their music played by the taxis. An early mixtape by DJ Cleo got picked up by one of the Cape Town taxi firms and that really helped him. He'd come down from Gauteng (an area in the North of South Africa) to play parties in Cape Town and people were already familiar with his stuff. I also heard that DJ Mujava used to drive a taxi in Pretoria and he would play his own music in his taxi, selling cds for a couple of bucks out the back. Pretty soon word got out that his taxi was playing good tunes so other taxi drivers and people with bars or shebeens would ask him for cds.
B:What new-to-you musical sounds and styles did you discover while you were out there?
G:So. Much. Music. Everywhere I went. Inevitably lots of the music you hear is that suffocating piped-in mall music you get anywhere in the world but most of the radio stations have SA quotas so you do get to hear the odd 'local' thing.
When I was in Joburg I got taken to a great late night place and the dj was sat behind the bar playing all this wicked stuff. I got chatting to him and he was telling me about all this kwaito/house hybrid music coming out of Durban. Zulupower! He played a tune by some people called Big Nuz that I had to try and find (You can hear it in the mix). Most of the music that really excited me over there was this sped-up kwaito stuff. Really imaginative party beats with loads of inappropriate noises and bits of vocal and synth chatter
The first totally-new-to-me thing I came across was this dance called 'Pantsula'. There is a whole music that's grown around it. I'm not really sure how it differs from Kwaito but people seem to talk about it as a separate thing. Lots of the South African rappers make pantsula versions of their tunes. Mostly it sounds quite sluggish to me but I heard a few things I liked.
The other cool thing I heard was people mixing Jamaican sounds with the local sounds in whatever way they can. There's always been quite a vibrant reggae scene in South Africa, my uncle played the bass in a group called 'Sons of Selassie' that were quite popular anti-establishment party-starters from the Observatory area of Cape Town. I met a Xhosa reggae singer called Teba Shumba who remembers performing with him back in the day. Michael Jones RIP.
B:Any particular tracks or artists really grab your attention?
G:First thing was Big Nuz. I love the way the 3 of them call and respond and bounce off each other, sometimes overlapping. My mate Spoek told me that their bars are killa but I haven't got a clue what they're on about most of the time, though occasionally you get an English phrase like "til the break of daaawn". And the beats are wicked, lots of odd tuned percussion and percussive synth lines. It's just straight coolness. Soundtrack to many a hot car journey.
My cousin put me onto a guy called Mzekeke that made me laugh a lot. He calls his music Kasie rap (toilet rap) – it's very dirgy trancey afrolectro with lots of offensive shouting and weird characters and skits. He's a huge star in the ghetto and does mobile phone promotions. But he always wears a mask so there's all this speculation about who he is and what he has done and why he has to protect his true identity.
A few of the best things I picked up out there are totally unknown to me, they're just called 'track 4' or 'track 6' or 'track 13'. I was in a cab on Main Road stuck in really bad rush hour traffic and the driver had one of those car stereos that plays off a USB stick. He was playing a wicked tune and we got talking. Turns out he was a law student from Zimbabwe who was living in exile. He urged me to rip his entire USB drive onto my laptop as long as I have him a few things in return. I never got to thank him properly, there was some unbelievable stuff on there.
B:What were your DJ sets like? I hear you had one eventful one...
G:There was one gig under a railway in the centre of Joburg, the club was literally covered in a thick layer of red dust due to the roadworks happening outside. The whole place had a reddish glow, which was cool, but it got ridiculously hot. From 8pm they were playing that megadistorto aggy halfstep and I got the feeling it was quite a drum and bass crowd. So I went for it with the harder stuff I had with me, they weren't ready for Stageshow Version). Towards the end I played Sweet Mother by Skepta, a tune I love and which I had been looking forward to playing, and some people at the front were shouting pretty obscene racial insults at me… I remember one voice cutting through the noise saying "Why you playing this African shit?" I so wanted to tell them this tune was straight outta North London!
I also played at a huge outdoor trance festival over New Year which was a madness. They had 3 powercuts during the entire 3 day festival and all 3 were during the first hour of my 2 hour set. I played on the African Dope stage on New Year's Day, went on just as the sun was going down. 'Fostercare' sounded different on that system, heartbreaking. Not sure people were ready for that one either.
My favourite gig was in Cape Town at a place called Co.Lab studios. The music and vibe was amazing all night. Spoek Mathambo came down and touched mic during my set, the highlight was him spitting fire over a Zomby tune called Balloon People into the Doc Daneeka edit of Pathwayz by Digital Mystikz. That was a beautiful moment. I even got to play some Pink Dollaaaaz which made me wish my LV crew were out there with me. Maybe next time…
B:How about a quick mix of those MP3s you gathered? Go on!!!!!!
G:This is a selection of favorites from the trip, plus a couple of things I got sent around the time. Will, Si and I put it together immediately after i got back. It's got a rub of Dream Cargo in there that's actually closer to the original tempo of the demo that Kode 9 heard. Seemed a nice fit. The mix starts with an outtake of Smiso saying 'OK ZHARP' which became like a catchphrase for my time out there and it ends on a personal note, our dub version of a new collab track. The track was started in 35 degree heat in Fletcher African Dope's beachside studio in Muizenberg, Cape Town…and finished in a cold room in South London.
LV "OKZHARP mix" for Blackdown Feb 2010
DOWNLOAD it here.
Okmalumkoolkat - OK Zharp intro
? - Ketokole
Big Nuz - Le Ngoma
DJ Killer & Nyekx aka Blackboyz - Killer in the Jungle
French Fries feat Bambounou - Coconut
LV - Dream Cargo slomo rub
Tshwara feat DJ Menace - ?
? - Bring Me Love
DJ Clock - Track 13
? - The Offering
Dikota- Track 6
DJ Cndo - Terminator
Big Nuz with Tira, Bonz Twitty - Superman
? - Nkosana
? - ?
? - Arise and Shine
Scratcha DVA - Dump
Spin - Track 3
? - ?
Zomby – Balloon People
DJ Fork and Knife vs Cabbage - Track 4
Mujava feat Tamara and K - Alostro
Brothers of Peace feat Zulu & Costa - Bop Killers
? - Wild Percussions
LV & Fletcher - Michael Jones (LV dub)
LV release the 5 track "38" EP ft Josh Idehen on Keysound in April, more about it, in due course...
Thursday, February 04, 2010
There can only be Oneman
Rinse 11: Oneman
1. Double Helix (LHF) – 96 Flavas (No More Games)
2. Ramadanman – Mir
3. Martin Kemp – After The Night
4. The Detatchments – Circles [Martyn's Round & Round Mix]
5. Jazzanova – I Can See [Doc Daneeka Dub-Bump Mix]
6. Kode 9 – 2 Far Gone
7. Martyn – Mega Drive Generation
8. Bassjackers & Apster – Klambu
9. Deadboy – U Cheated
10. Zomby – Rumours and Revolutions
11. Efdemin – Acid Bells [Martyn's Bittersweet Mix]
12. Geeneus & Ms Dynamite – Get Low
13. Smoove Kriminal – Represent
14. Sticky – Jack It Up feat. Marvin Brown
15. R1 Ryders – Rubberband VIP
16. SouLTonic Sound System – The Flying Saucer
17. Bok Bok – Citizens Dub feat. Bubbz
18. Hem feat. Terrible Shock – On a Mission [Shortstuff Remix]
19. A4C – Untitled Mambo [Boogaloo Crew Remix]
20. Joy Orbison – Hyph Mngo
21. Breakage feat. Newham Generals & David Rodigan – Hard
22. Desto – Disappearing, Reappearing ink
23. Joker – Digidesign
24. 2000F & J Kamata – You Don't Know What Love Is
25. Starkey – Rain City
26. Headhunter – Prototype [Modeselektor's Broken Handbrake Remix]
27. Crystal Fighters – I Love London [Brackles Remix]
Mixes by Oneman
Oneman - Winter 2009 Mix by djoneman99 Oneman 2010 Mix by djoneman99 Month of Love Valentine Mix by djoneman99
Download the Rinse FM podcast here.
Blackdown: So when did the Rinse CD come about?
Oneman: Probably about two and a half months ago. Rat had mentioned it to me and I'd started thinking about it but nothing was really set in stone until about October. I didn't start working on it until Rat properly said. And from the time I started to when I recorded it, it was just under a month's work. They're all tunes I like at the moment.
B: So how did you go about picking the selection because you could have gone in several different directions?
O: Yeah so the way I wanted to do the mix… because I thought about it a lot: do I want to put old garage stuff on there? Do I want it to be like my old React FM sets or more like my new Rinse FM sets? But I settled on the idea that I wanted it to be a snapshot of exactly what I like, right now, and that is not so much of the new dubstep stuff and not so much of the new grime stuff, but more of the funky and the wot-do-u-call-it dark house stuff. That's what I'm into at the moment: producers like Martin Kemp, Bok Bok and Jamie George. People like that are making really good music and it's back to 130-135bpm again. It's kinda gone round in a circle.
B: It has a bit hasn't it!
O: All the values I enjoyed in early garage, especially the bpm, the shuffle, the beat base – it's all coming back again with this new stuff. The whole 'new Wot Do U Call It dark house, Martin Kemp, Doc Daneeka thing" is that I think it fills a gap in where house is meeting dubstep at the moment and I think its really important and relevant to both scenes, because its like what I hear in those records is what definitely what I heard in dubstep in 2004/05 - just a sense of space and atmosphere, not so much about the melody but just bass beats and weird odd sounds.
B: So why did you choose not to play older garage or grime, as you often have before?
O: Because that's what I'm known for. I'm known as the dubstep DJ who started playing garage. That was three years ago but I've moved on a bit from there. I was thinking: do I want another mix out that has just dubstep and garage tracks on there? I didn't - and I realise it's more relevant to incorporate those older garage tracks with the newer funky sound. I tried to do that but there was something in me that really didn't want to go back too far. I did think about it and a lot of times I don't actually think about it I just do it, I just play 'em. This time I did want to think about this mix properly. I remember I was talking to Distance at Radio 1's Generation Bass and he said the best thing with mixes was to plan them out a bit because you never want to look back and think 'oh I missed out this…' So I wanted to make sure I planned this one really, really well.
B: So there's stuff on this mix that sounds like UK funky and other new stuff that is very close to traditional house, what is it about this space you like?
O: To me it's like a broken version of funky, like what all the dub mixes were to garage and what the dub house mixes were to house, back in the '80s in New York. To me it's just the beats and the atmosphere that have been newly created. It sounds like funky it's just a bit different. I think it's the beats and the atmosphere that are different because you wouldn't see a girl with a smile on her face dancing to it, like she'd dance to a Crazi Cousins track. It's the darker end of the scale, the dub end really.
B: It's nice because to me it feels like two groups in London having some kind of dialog: the original funky ravers, those who started out being into Fingerprint etc – and we can feel what they're doing – but then there's our immediate social group who make beats that fit into the tempo but with slightly different flavour.
O: Yeah. Did you hear Scratcha on the radio the other day? I think he'd played a Bok Bok riddim and said 'oh this is that weird sound, you can find guys like Oneman and Bok Bok in Shoreditch in skinny jeans…' Hahaha…
B: But you know he's obsessed with what he calls "strange" or "weird" people? He's got these irrefutable funky, pirate and grime credentials but he wants to be "weird."
O: Yeah I know and that's why he's obviously playing the track because he was like "yeah I've got another one coming up, it's all good." That's why he wears them glasses too.
B: I think Scratcha's unique.
O: Yeah he's brilliant and a really nice guy.
B: He sees that there's things beyond the 'ends' in which he grew up in and wants to move towards them, whereas some of his mates would be like 'nah.' Yet through Rinse it's all become one thing.
[ I'd like to add some thoughts in here at this point, about the blurring of the harcore continuum axis' this year. While there's been much debate last year about whether something was or wasn't part of the nuum or whether you should even be doing that, but I think a lot of observers still use fairly agreed indicators to tell the difference in a nuum context between, say, JME and Haduken. But this year all this stuff like a) funky-not-funky Jam City/Mosca b) Terror Danjah on Mu/Hyperdub c) Roska and Untold collaborations d) Scratcha making an indie/grime mixtape ("No Right Turn") has really muddied the water in an irrefutable way. The degree of collaboration and dialog is so entrenched that in many cases, i.e. some of the most interesting ones, the boundaries are in some cases jumbled.
But in other cases, it's less that two groups have met and blurred the lines, more that some of the axis' have been completely reversed by 180 degrees. I'm thinking particularly of Geeneus and Wonder, both of whom have impeccable grime credentials (Pay As U Go/Rinse co founder and ex-Roll Deep member respectively) who now play the housiest of house. The housier the better, almost tribal house. Wonder plays late night 3 hour minimal sets at bars in Brick Lane and Gee's sound is ultra percussive and very deliberately removed from grime. I guess I'd ask where this leaves the axis', when culturally they're as they were but musically they've been flipped 180 degrees. There's also the Azzido Da Bass of UK funky, Bassjackers & Apster "Klambu", which is a European trance anthem, recontextualised as UK funky banger. Speaking of which...]
B: Can you tell me about Bassjackers and Deadboy?
O: Deadboy is a guy from New Cross. I really like his tunes because they sound organic, they don't really sound that well mixed down but they don't necessarily sound wrong. They don't sound anything like anyone else's music, especially "U Cheated" and "Heartbreaker" and that new one "If You Want Me," which sounds like Kode9 doing garage. That Bassjackers track I just found it on a blog and it's like a commercial house track really… I couldn't tell you too much about the producers or who they are. Funnily, that track, I played the mix to Loefah on Friday and it was one of the only tracks he went "what the fuck is this? This is amazing." To come from Loefah, that's pretty cool.
B: Especially it's in a house direction that he's not usually interested in. Because the idea of heading to 130bpm has been around for about a year to 18 months and I remember talking to him about it in that really long interview. I mentioned we'd been working at 138 for years but we we're slowing down to 130, there's a gravitation towards funky and while he was interested in trying his 808 thing at 130 Loe was at pains to point out it had nothing to do with funky.
O: Haha, that sounds like him, definitely…
B: So, I like the fact that you broke the mix in the middle with Martyn's beatless mix of Efdemin…
O: Yeah that was the point at which it was: should I or should I not do this? Because there's also another mix of that track by Martyn, called the "Dark Mix," more like an acid house track. But I went with my gut and thought fuck it and went with the beatless thing in the middle. Because it kinda goes from the pacey, dark house stuff into that and then straight into the proper funky.
B: One of the things you've always been excellent at is creating a sense of groove but a side effect is to move people in dubstep away from the halfstep idea where you break everything down and build it back up again. But here you did break it down, right in the middle of your mix. So I wouldn't have expected it from you but I really liked how you did it. The Martyn remix reminds me of an old Aphex Twin track "On." So, how did you manage to get the Ms Dynamite special you mix out of it with?
B: I didn't even ask for it! I got an email from Rat saying "here's a 'Get Low' dub from Geeneus," and I was like [makes sound of filling his pants]. And I was like "[voice of someone trying to play it cool] cheers thanks!" Cos I've heard the tune before but I don't know the tune from the beat I know it from the lyrics and the verse. So when I heard it [from his email] I thought 'oh this is a good beat.' I didn't even know it was called 'Get Low.' I heard the intro going "Oneman DJ/Get down low…" and I thought it was a grime MC or something. Then it dropped in with the lyrics and it was like "fucking no way!" I didn't even know the tune that well and now I had a special of it. It's great. It's obviously Geeneus knowing I was doing the CD and helping out with a dub, which I'm really grateful for.
B: It's pretty nuts, most people would have to get on bended knee for a Ms Dynamite special.
O: So yeah I played it and loads of other funky tunes after the beatless track to bring it down and catapult it back up.
B: The end of the mix I like, you definitely play some tracks that have been some staples of yours, Joker, 2000F, Desto… what was the plan around clustering those ones at the end?
O: I just wanted to showcase some of my favourite 140bpm tunes because the mix is pretty much 130-135bpm, and you can't play those tunes at that speed, you've got to play them at 140 for them to be heard properly. So I thought I'd mix Joy Orbison into Breakage ft Newham Generals "Hard". I thought I'd mix Joy Orbison in and I'd use the intro and cut it half way through so again you've got this beatless part of the mix which allowed me to speed it up basically. Because I'm using Serato with the master tempo on it, you can't tell it's being sped up until the beat comes back in and buy that time you've gone 20 seconds into the tune… so it's pretty unnoticeable. Then I locked that there at 140 and mixed the others in because that's what speed they are.
B: So I've seen you use vinyl, CDJs and you're using Serato: how do you find mixing across these different formats?
O: I'm really, really, really still into vinyl. Purely because I know all my tunes because of what a label looks like, what's written on it, what font they've used, what colour it is, how many scratches are on it, how frayed the cover is. They all come into me knowing my tunes: otherwise it's a big black disk, I'm not going to have a fucking clue what's on it. With this Serato thing you've got a screen full of words, data and numbers and it's really confusing. So for me I'm finding DJing out in clubs with Serato a bit of a nightmare…. Not a nightmare but it's giving me a bit of trouble because I don't know where everything is. It is just a bunch of words and you've got to go through it all. You go from the decks to the computer and back to the decks again. I mean I will get used to it, I'm not going to give up on it but I do prefer using vinyl purely for accessibility.
B: Does Serato allow you to play more upfront selection?
O: Yeah, that's kinda why I got it because there's so much music I'm getting sent right now that I like and I don't want to carry CDs around. I'd much rather use 1210s because they've got a bigger plate, bigger pitch shifter – bigger, better, nicer to use. I hate CDJs they're really small. I always end up knocking something and it goes wrong. That's why I'm quite happy with Serato as it's in the middle of CDs and decks.
B: I don't know about you but I find they make me mix differently. It's much easier to find the start of a track on a CDJ than vinyl but harder to keep it in if it goes out. How do you find it?
O: I find I mix a lot quicker and a lot better on CDJs. I just glance at the bpm counter, get the track around that tempo and then go from there.
B: They'll get you in the ballpark. I've had Kode say 'don't ever trust them' but they're usually pretty spot on.
O: It's digital: of course they are! But I like Serato, it has a really nice interface and the looping things you can do on the CDJ you can do here too. Cue points you can trigger off your keypad. I think Serato is a near to the future of DJing as we've got so far, with a lot of the soundsystem companies tailoring their systems especially for digital. In ten years vinyl is going to sound shit, basically. You'll have people playing vinyl in clubs and people will be like 'what the fuck is this?' Everyone will be digital because all the systems will be tailored for MP3s.
B: My concern with CDs and other digital stuff is the top end. In a club it does sound really harsh at the top.
O: Yeah it's really crashy… it doesn't sound clean.
B: Maybe it's because we're all used to bassy records.
O: I think it probably is… I think we all probably need to get a pair of earplugs.
B: I do wear them and they do roll the top off, but still, CDs aren't the same. Sometimes they're a necessity, especially to play upfront on radio, but in clubs it's different. So tell me about that Modeselector remix, because it's really techno and quite different to the tracks on the mix.
O: Yeah that was another last minute tune from the Tempa mailing list. I really like the melody when it switches: it's really old hardcore sounding. The melody is like hardcore but with techno sounds and a garage beat. I think Modeselector done really well with that tune and it's great to mix with because there's hardly any tunes with that sound in the intro, it's like something Burial would use in his "Distant Lights" tune. It's that kind of noise I really love.
B: You started the whole mix with a Double Helix (LHF) track that's kinda junglist and quite a poignant sample in it, what was the thinking on that?
O: Yeah the sample in "96 Flava" "I don't find there's enough classics out there" just before the drop is definitely an opening statement I'm happy making with the mix as I do feel that way. The lack of 'classics' over the past five years has kind of lead me to go back around to garage and bring some of those tracks back to life.
B: And then you ended with Brackles' I Love London remix…
O: Yeah I love that tune, it's really special. The reason why I finished with it is because it's one of my tunes of the year and its got that sample in it ("I love London…") which I thought is so relevant to the Rinse mix.
B: What is it about London that makes music like this?
O: I dunno really I guess it's being around it all the time and all the different cultures. When I went to primary school I was one of four white kids in my class out of thirty. Most of them were black kids, some of them were Asian, a few eastern Europeans but not so many back then. So language evolves, their parents listen to different things, you get older, you go out… it literally is just living here and being around it all.
B: Well, I think pointing to multiculturalism is a pretty good start to answering the question…
O: Yeah, I think it is, as much is it's really cliché to point out all the cultures but in my case it's true. I don't think I'd be a DJ if I hadn't lived in south London. I don't think I'd be doing this at all. I wouldn't got a pair of decks because my mate didn't have a pair.
B: Who were the first big DJs that inspired you?
O: The first DJ who inspired me and pretty much everyone I know who DJs garage was EZ. The Pure Garage compilations were our first look into garage. I was in year eight when Pure Garage 1 came out but I completely missed it. But when I was in year 9 Pure Garage 2 come out, I remember it was a red CD and it had "Flowers," "Buddha Finger" … it had literally every big garage tune all on that CD… "Sometimes it Snows in April". I listened to that CD about 300 times, just listening to EZ's mixing. I could reel off all those mixes now.
B: Looking back as a seasoned industry professional, do you not think that maybe some of that was done on Pro Tools, even though EZ is certifiably a badboy DJ?
O: What his Pure Garage mixes? I've never even thought about that… it's never even crossed my mind.
B: Haha, sorry to mention it. And about Father Christmas yeah…
O: Haha!
B: I don't know about Pure Garage but I've seen it in other DJ mixes, I used to work with someone who built Paul Oakenfold's mixed radio show for him, I watched him do it in a Pro Tools-like program.
O: I know EZ is a fan of the Pioneer mixer and I know on his later mixes he's used a lot of that. And the Best of Pure Garage, the one with Bass, Beats, and Breaks on it, one of his CDs there's actually a few mini clangs on there. I was doing my mix and was like 'oh my god, EZ has clanged on a CD: I am fine.' Everyone of us is OK! I even heard him clang on Kiss, and I was happy. Because you know if EZ clanged then you're fine, you're alright.
B: To be fair, I don't think I've ever heard you clang!
O: Oh I have, believe me. I definitely have, I definitely have had my fair share.
B: Sorry I'm not having it but anyway… so for people who are perhaps starting out as DJs, what are your tips for beatmixing?
O: Literally practice mixing. I would say kick all bad habits, like slowing the plate down with your finger.
B: So how would you recommend slowing it down?
O: Just by the pitch. Ride the pitch, just keep your eye on it. And keep your ear open and you'll hear it. As you move the pitch up and down, you'll hear it. And if it's a bit too fast and you're on +2 then pitch it down to the light for a second and then back to just below +2. Ride the pitch. When you touch the plate – which I've been doing for years and have been getting myself out of recently – you hear the [makes the weird noise of record changing speed]. But if you ride the pitch you take all of that out. you're just going faster or slower really, without any force on the plate.
B: So you said that it's bad touching the deck for slowing it down, does that apply to speeding it up?
O: I don't think it's that bad for speeding it up. You know when people pinch the middle and speed it up like that or lightly brush your finger around the label just to speed it up, but I wouldn't push the record as it does the same sort of thing [makes the weird noise of record changing speed].
B: Yeah, Deep Thought calls that "wanging the mix" as it makes a "waaANG" noise when you do it.
O: Hahah, yeah that's right. You've got a wanger… "Oi, we've got a wanger…!"
[ It strikes me here that what Oneman is describing is correcting the pitch once already in the mix, i.e. you've taken the crossfader over to introduce the second record, before you're sure the two tracks are at the same speed and in phase. Many DJs ensure the two tracks are already safely mixed long before they do this, but it takes time. The 'wanging' noise is irrelevant if only you hear it.
The ability and balls to be able to correct your mixes once they're already public explains how Oneman can mix two tunes so quickly – he knows he can correct the mix as it happens, which for many people is a gamble (if the records go out, one of them is faster but you don't know which) but a calculated one if you're that capable and confident of correcting any error seamlessly. I think this is very much part of what makes Oneman such an amazing DJ: he can mix "faster" than most other people, more accurately and for longer.
Dusk and I have sometimes remarked at gigs that we wish he'd sometimes play more of the tune he'd just brought in and is now mixing out of, just because we like his selection, but frankly if you, me or anyone else could mix to these kind of levels, we probably would. I mean: you would, wouldn't you? - Blackdown]
O: So I try and stay on the pitch now and it is a lot easier, I've seen Hatcha do it ridiculously. He'll just go from +8 to -8 in a second and it will be locked.
B: Hatcha is a bit of a good DJ…
O: Yeah, just a bit haha…
B: You're amazing and keeping stuff locked forever but what I like about Hatcha's style is he's amazing at using the two records to make different rhythmic patterns.
O: Yeah I know what you mean, he done that with "Red" and Ms Dynamite's "Ramp" – both Menta tunes, recently when I played with him on Kiss. It was 'wow' … and the way he mixed in "Red" as well, I've not hear anyone mix it in like that.
B: Well, "Red" is an original Hatcha tune. Velvet Room headz called the version that came out "Red 2" because Hatcha had the original version of "Red" on dubplate that didn't do much…
O: I think that was the one he played.
B: It's got none of the phased breakdown it's just a really linear DJ tool.
O: Yeah I think that's the one he played, I've never heard it before. But yeah, Hatcha's a dubplate don, really.
B: Yup, he's a total hero of mine: it's good to have them.
O: Yeah definitely.
B: So you were on React FM for ages and I know it was, ahem, under negotiations with Soulja for a bit about coming on Rinse.
O: So Sarah wanted me to come on Rinse from early, I'd been on React for about five months and that's because I'd played at DMZ and at FWD, got an agent so she was interested. And I said I'd do it if I could keep my React show, but she said I had to do Rinse exclusive. At the time Heny G was at React and we are really good mates and he'd built something there that I thought would be really good so I wanted to stick it out for a bit but then some new people got drafted in and Heny left and it just went dead. The FM wasn't on for four months, the stream hardly ever worked due to problems with their internet, it was a bit of a shambles really…
B: And you got locked in the studio a few times!
O: I got locked in the studio twice! I'd forgotten about that.
B: Asbo was quite concerned about how you were getting home!
O: Hahah. Good times…! That was really hard to get out of that studio because it had those gates at the front… it was under some arches of the tube line in Hammersmith. They had these big iron gates at the front which had serrated tops which you couldn't climb over. They weren't like spikes: they were worse than that, they were twisted bits of metal…
B: And you've got a record bag…
O: I've got a record bag, the gate is 9 feet tall and I'm about 5 and a half, so that was a bit of a nightmare, but I think we got out of there in the end, cut free. But back to Rinse, I decided to do it because it's just so much more professional. I did a cover for them when they were over in the Bromley-by-Bow studio and I really enjoyed it. So Rat and Sarah offered me a weekly or bi-weekly show. I've had it for about a year now and have been enjoying it. I feel like they do a lot more to help their DJs, which in turn you get more exposure from. I definitely think my money is going a lot further than it was at React, especially with the new studio, how it looks in there. Ah mate it's just so nice: have you seen the new signs as well? I looks like a proper station now. It's a really nice place and I'm happy on there. Management are wicked, Rat's really cool.
B: The audience is pretty cool because you're half London, half global.
O: Yeah, it's half FM listeners in their car or something, and at my time 11-1am, you get a lot of people locking in from the States.
B: Did you find that the DMZ gig was a turning point for you as a DJ, or where there other gigs that turned more heads?
O: I think that was the one really, because I think a lot of people were surprised about how much garage I played. I know my agent, Belinda, she first saw me there and one of the main reasons she said she wanted to work with me is that she was there all night and when I came on not only did everyone start dancing but all the girls came to the front and started dancing because they love garage. It was definitely a turning point for me because people realised who I was and what I was doing. It was the last set of the night and I was just so chuffed to see so many people stay there. People were getting a bit tired after Plastician, because it wasn't Plastician's best set I remember, but anyway. I was just so chuffed to see everyone who was there at 5am still there at 6am. Pretty much everyone stayed for the whole set.
B: I've got this theory, let me run it past you. I think a lot of people came into dubstep around the DMZ 06 era, many of them from drum & bass who were looking for something dark but not as hectic as d&b in 2006. I think a lot of people who came through had this thing about garage being shit. My theory is that you were one of the key people that turned that perception around.
O: Yeah a few people have said that to me, they've said the whole resurgence of garage is purely down to me and I do think I did have a hand in it.
B: I think you definitely spearheaded it. So my point is around the perceptions of people who would have come to DMZ and whether they still think garage is a dirty word or not…
O: Yeah I think what they think of garage being is the Sweet Female Attitude or Artful Dodger type sound, which is kind of 2001, champagne and charly… which it wasn't really. I think the garage I play is more club music like the dubstep I play is club music, the El-B's or Wookie's, that sort of stuff. I can't see any difference between that and early dubstep or any underground stuff really: dark beats and dark bass. But I love girly garage tunes too…
B: And you're not afraid to play them either!
O: Yeah, I don't give a fuck, music is music. It's one song, it only lasts three minutes!
B: Yeah but certain DJs are afraid to show a feminine side in their DJing.
O: Oh, well I love it. You can dance to them type of tunes, properly. I can't dance to "Spongebob" the same way I dance to "What you do" by Colours.
B: I won't dance to "Spongebob"… I will leave the venue!
O: So yeah the older, girlier garage tracks I'm not afraid to play at all.
B: To me the joy is zig zagging between the bassier stuff and the vocals. Straight vocals can get a bit much but if you get the sweet and the sour in there together it's perfect.
O: I totally agree, I try and do that as much as I can. These days, especially in clubs, I seem to start out with r& remixes. 702 the Resevoir Dogs mix, Amira "My Desire," Basement Jaxx "Red Alert remix", "The Boy is Mine" – them garage remixes from around '98-99, I'm playing loads of them out now for the first 10-15 mins of my set, all the classic vocal tracks that are really fuckin girly. They always get a party started: they always do. If I start with "Boy Is Mine" garage remix, when the bassline comes in, everyone knows it, straight away.
B: X-Men aka Wookie remix!
O: Big tune! The way the bass works they play one note and then the same note 1 octave above after it, so the bass is ascending...
B: This ties back into my theory about how you converted people from thinking that garage was terrible, because there was definitely a point when I realized that you were playing those records to people for the first time. Digging into those classic record was like having an arsenal of dubs.
O: I guess it was, especially for that crowd as well. Cos like you say, to that crowd, that is a new tune.
B: The mix mostly avoids 140 bpm until the end, what is your take on how dubstep is going at the moment?
O: You can say 'this is dubstep' or 'that is dubstep:' it's subjective and everyone has an idea of what dubstep is, but what I think dubstep is and what is was when I started listening to it in about 2004-05, what dubstep is known as now it's completely changed. If a CD came out now called "Now that's what I call dubstep 2009" I'd not expect to like one tune on there. I'd expect it to be all big crashy snares, halfstep beats and kinda chainsaw wobbles that have no kinda depth or listen-abilty really, it just makes you wanna go nuts. It makes kids want to lose their shit: and which is what kids want to do and when I was 15 or 16 I bet…I bet if I was 15 in 2009 and I heard all that stuff I bet I'd love it. I'd probably think it was great but I've been through my 15 year old phase.
B: But at 15 you were listening to Pure Garage 2!
O: I dunno, everyone was listening to garage back then, everyone was happier back then. You could go to school, you could chill in the playground with a girl and listen to Upfront FM tapes from yesterday.
B: Or… what was that one that Youngsta used to be on, Freak FM?
O: I never used to get Freak, it was an east London or Essex station. I could only get Upfront or Delight FM. Delight FM was my station, two or three kids in my school went on it.
B: Hatcha was one of them wasn't he?
O: Hatcha was on Upfront, N Type was on Delight. My first girlfriend ever, in secondary school, her big brother was Neutrino's best mate. So I used to go around her house and Neutrno would be sitting there with her brother, Patrick, listening to garage munching pills doing hundred mile an hour head nods. So we used to go down to Delight and have a look around the studios, but not really when anyone big was on like So Solid, but it was always good to go down there. But Upfront and Delight were really the only two stations I could really get down here, where I live. My mate used to get really really good reception of Delight in Clapham. But whereas Upfront is in my area, I could get that really crisp, so we'd basically just swap tapes all the time.
B: I worry my perception of London pirates is now distorted by how good Rinse is. There used to be a broad collection of good ones, like Déjà Vu, Freak, Heat, Axe, Raw Mission…plus Delight, Upfront and Rinse. Are there any other pirates you still listen to?
O: Yeah the whole funky thing has pumped so much life into the pirates. I'm always checking for pirates in my car because it's the only time I get to listen to the radio. If I'm at home I'll listen to a mix that's on my computer or go on beats or something. But when I'm in my car I make a point of not putting on any CDs, especially when I'm in London, because I like to see what's out there and I've noticed you've got Ice Cold FM, which is doing really well again now and there's Live FM UK which is 101.5FM, which is probably my favorite station at the moment, they've got some of the best funky DJs on there playing some ridiculous music, playing so much of the newer darker stuff. I sure there's a few more. So it's Rinse, Ice Cold and Live FM I'm checking for at the moment.
B: What about Ustream and your "Yard Sessions", because your use of that is like a long tail pirate station. How did that come about?
O: That was just a random idea. Elijah from Butterz invited me to a chat website called Tiny Chat and it was him, Joker, JD Dready and DJ Yasmin and some other producers all in some webcam chat room thing. We were all talking about gigs and catching jokes and being a bit stupid and I got a bit bored to be honest so I was mucking about with the settings on the side and the camera and audio settings and my external soundcard showed up on the thing, so I realized I could use my soundcard instead of my mic, and play tunes. So I was playing people tunes and it was radio quality. So I left that chat room and made my own one up and did a little test run in there but the thing is from that, people can join your chat room and they can plug their webcam or mic in and talk over what you're doing which is a bit long. So I tried to find one website that could just have one person broadcasting. And I remember seeing Snoop on Twitter saying "come on my UStream channel, I'm just smoking" because he does a "Wake and Bake" show where he wakes up and smokes weed. So I was watching the Snoop "Wake and Bake" show and thought: fuck that's such a good idea! So I set up a UStream account and plugged my soundcard in, had a test run and yeah that was it. The rest is history.
B: Could you ever imagine a scenario in the future where you didn't go on a radio station and just used UStream to broadcast?
O: Yeah definitely, I don't see why not. Especially wit the whole Facebook, Twitter, up to the minute information.
B: Because if blogs are basically one person broadcasting their viewpoint rather than a whole magazine's worth of writers, UStream is like a video version of pirate radio but just your one vision.
O: And it's at home with your set up, that you're used to, so that's always going to be good. And you've got every record you own near you as well, it's not like you have to bring a select bag: there's so many pro's to it.
B: That can have it's pitfalls though when one record is playing, you want to mix in another but you can't locate it in the collection! Finally, can you tell me about Asbo, as he's such a charismatic host and a real part of your Rinse show?
O: Asbo is a great MC we've been mates for nearly 10 years, both from Streatham. I love the way he hosts a set. He likes to keep the listeners entertained with a few jokes and funny one-liners that will often rhyme as well as holding it down in a professional manner. He has a real natural approach to hosting that fits perfectly with what I do.
Rinse 11 mixed by Oneman is released is March 1st
Tuesday, February 02, 2010
Rinse January
We were back on Rinse in January and I felt well up for it, hungry to let some beats off. Here's the audio.
Dusk + Blackdown Rinse FM January 2010
Roxy "Breakbeat Science" (Bison) *Roxy tribute, RIP Roxy, fallen Ghost soldier**
D1 "Lazerquest" (unreleased)
Aswad ft Sweetie Irie "City Lock" [Roska remix] (unreleased)
Gremino "Bee and Cee" [Grievous Angel remix] (unreleased)
Slackk "Marching" (unreleased)
Mosca "Square One" [Roska remix]" (forthcoming Night Slugs)
DJ Zinc and Ms Dynamite "Wile Out" (unreleased)
Emvee "Windrush" (unreleased)
Maxwell D "Snow Man" (unreleased)
DVA "Natty" (Hyperdub)
DJ Dom "London" (unreleased)
Baobinga "Ride It" (unreleased Build)
Grievous Angel "Still On It remix" (unreleased)
VVV + Phaeleh "Reconcile" (unreleased)
Sbtrkt "Dazed" (unreleased)
Kuoyah "Angels Dub [ Sully remix]" (unreleased)
LV "Lost" (unreleased Keysound)
LV "Early Mob" (unreleased Keysound)
Ramadanman "Tempest" (forthcoming Hemlock)
Untold "Come Follow We" (unreleased)
Seven and Elvee "Breakdown" (unreleased)
Vibzin "Mad Sick" (unreleased)
LHF "Chamber of Light" (unreleased Keysound)
LHF "Akashic Visions" (unreleased Keysound)
Sbtrkt "Minusthree" (unreleased)
Filtercutter "1UP [Ramadanman remix]" (unreleased)
James Blake "Saying" (unreleased)
James Blake "the Bells Sketch" (unreleased)
D1 "Dr" (unreleased)
Starkey ft P Money "Numb" (forthcoming Planet Mu)
Zomby "Maxamillion" (unreleased)
Zomby "Rooftops" (unreleased)
· Don't forget you can download all our older sets from the Dusk + Blackdown Archive page.
Subscribe to:
Posts (Atom)


text: The growing presence of Islamic fundamentalist fighters is among the "most alarming" trends in Syria's civil war, a United Nations investigator said Monday. "Some of them can be classified as jihadis," said Paulo Pinheiro, who chairs an independent international committee charged with investigating the situation in Syria. "Sometimes they fight together with some armed groups of the opposition. Other times they go by themselves. They have their own agenda." Hours after presenting a new report to the U.N. Human Rights Council in Geneva, Switzerland, Pinheiro told CNN that the fundamentalist fighters were "one of the most alarming elements in the present stage of the civil war in Syria." The commission also believes both sides of the conflict have committed war crimes, according to the report Pinheiro presented Monday. "The commission found reasonable grounds to believe that government forces and the (Shabiha) had committed the crimes against humanity of murder and of torture, war crimes and gross violations of international human rights law and international humanitarian law, including unlawful killing, torture, arbitrary arrest and detention, sexual violence, indiscriminate attack, pillaging and destruction of property," a summary of the report states. Shabiha are pro-government militia. In addition, "The commission found reasonable grounds to believe that war crimes, including murder, extrajudicial execution and torture, had been perpetrated by organized anti-government armed groups." Pinheiro told the council that "gross violations of human rights have grown in number, in pace and in scale." At the meeting, Syria's representative said the commission's report "was neither accurate nor objective," according to a summary from the United Nations. Speaking to reporters later Monday, a spokesman for France's Foreign Ministry said the report was "damning for the Damascus regime." "We are looking at ways to ensure that the matter is referred to the International Criminal Court by the Security Council," spokesman Philippe Lalliot said. In another report released Monday, Human Rights Watch said that armed opposition groups have "subjected detainees to ill-treatment and torture and committed extrajudicial or summary executions." In other developments: Many Syrian children can't go to school The school year officially starts this week in Syria, but the reality of war prevents thousands of children from learning. More than 2,000 of the country's 22,000 schools have been damaged or destroyed, according to the Syrian Ministry of Education. The education crisis extends beyond Syria's borders. The Lebanese government was working to place an estimated 32,000 refugee children in public schools, the United Nations Children's Fund said. At the Zaatari refugee camp in Jordan, UNICEF was registering school-age children while working to build a school that can accommodate up to 5,000 students, the agency said. For some children inside Syria who can't go to school, UNICEF provided "recreational kits because these children had nothing to do." Latest violence At least 142 people were killed in violence across Syria on Monday, the opposition Local Coordination Committees of Syria said. The toll included 50 dead in Damascus and its suburbs and 31 more in Aleppo, the country's commercial capital. CNN could not independently confirm those figures, which do not include deaths of government forces. The state-run Syrian Arab News Agency reported Monday that operations "against terrorists" were continuing throughout the country. Dozens were killed in clashes in Aleppo, the government news agency said Monday. Authorities also "inflicted heavy losses" in fighting with gunmen who tried to attack a security checkpoint in Homs, the news agency said.

subset: commoncrawl


text:
Create a Website Account - Manage notification subscriptions, save form progress and more.
Show All Answers
Residents can expect to see utility work beginning in fall and winter of 2017-18. Paving work will begin in spring and summer, 2018.
You can monitor progress on the Project Activity Tracker. Or sign up to receive alerts.
Complete road closures are very rare. In most cases, traffic will be reduced to one lane rather than complete closure. Whenever construction moves into a new area, the City will issue an alert. These alerts will contain alternative route suggestions.
Public safety and well-being is of the utmost importance. The Engineering Department is coordinating closely with the US Postal Service, Waste Management, Police and Fire/EMS. Residents are encouraged to contact the U.S. Postal Service if they experience any delays in mail. Emergency Response services (Police, Fire, and EMS) will always be able to access your residence or business. Likewise, Waste Removal services will continue during road and utility work.
Please contact Jose Ortiz, Engineering Services Director, or Matt Carr, City Engineer.


text:
Use "" to search for specific phrases.
You are attempting to documents.
The maximum number of documents that can be ed at once is 1000. So your request will be limited to the first 1000 documents.
To make your more manageable, we have automatically split your selection into separate batches of up to 100 documents.


text:
Children who go to a Wellesley pediatrician can, if needed, see a psychologist in a nearby exam room. At a medical office in Peabody, boys and girls with anxiety issues can simply go upstairs to see a social worker. And at a Newton pediatric clinic, children with attention-deficit hyperactivity disorder are able to see an on-site nurse practitioner specializing in mental health.
These are among a growing number of Massachusetts pediatric practices that are sharing space with mental health professionals, a move aimed at improving access to hard-to-obtain psychological services and at sending the message that treating children's depression and behavioral issues is as important as following their asthma and diabetes.
Roughly one in four pediatricians in private practices in Massachusetts works in a setting that now includes some type of mental health service, according to a preliminary survey of members of the state chapter of the American Academy of Pediatrics. "In the last two or three years, there's significant growth in this kind of collaborative care," said Dr. Ellen Perrin, a developmental behavioral pediatrician with Tufts Medical Center who conducted the survey with a colleague. "There is a recognition that the nation's mental health system is broken, especially for children, and we have to do better."
This model is one example of a national trend toward more coordinated services, which centers on primary care doctors working closely with specialists to keep patients healthier and, ideally, to lower overall costs. Getting different clinicians in the same space is not practical in every case, but many pediatricians believe it is the best way to address children's behavioral, emotional, and mental disorders, which are being diagnosed at far higher rates than ever before.
The percentage of children under age 18 who have exhibited behaviors that indicate a serious mental problem has remained roughly 1 in 10 during the past 20 years. But federal statistics show many more of these children are now being identified and treated — roughly 50 percent today, compared with only about 10 percent two decades ago.
Perrin said she became drawn to this concept while attending a medical conference about 15 years ago that examined adult primary care practices "co-locating" mental health professionals. She said the arrangement — then rarely seen in pediatric offices — helped doctors and therapists better communicate and helped patients receive treatment in a convenient setting that many saw as less stigmatizing.
A North Shore father of three, whose children go to a Peabody pediatric clinic, said he was far more accepting of his 7-year-old daughter's diagnosis — and treatment — for ADHD because the child's pediatrician had referred her to a mental health counselor within his own practice. "The fact that she was right there made me feel I could trust her," said the marketing consultant, who asked not to be named to protect his daughter's privacy. "You feel there's this added level of vetting by the pediatrician."
Given the important role that pediatricians play in a child's life, they are at the center of many initiatives designed to boost mental health services for the young. The Massachusetts Child Psychiatry Access Project provides a hotline for pediatricians to call for consultations with psychiatrists, especially for help with the complexities of prescribing psychotropic drugs. Started about a decade ago, this program has been replicated in other states. In addition, the Massachusetts School of Professional Psychology offers pediatricians a referral service for mental health clinicians, which has made roughly 1,000 referrals a year.
And starting five years ago, pediatricians who accept MassHealth, the state's Medicaid program for low-income residents, have been required to use a mental health questionnaire to screen children for emerging problems.
In pediatric practices that go so far as to share office space with mental health clinicians, doctors typically team up with full-time or part-time psychologists, social workers, mental health counselors, or nurse practitioners who specialize in mental health. Using psychotherapy and sometimes medications, they deal with common psychological or behavioral issues affecting children, such as anxiety, depression, attention-deficit hyperactivity disorder, autism spectrum disorders, and post-traumatic stress.
Acute cases are frequently referred out to child psychiatrists, but, due to the shortage of those specialists, many pediatricians end up playing a role, prescribing stimulants, antidepressants, and other psychiatric medications, if needed, and referring children to psychologists or other practitioners for therapy.
The mental health clinicians may be employees of the pediatric practice, or bill separately as independent practitioners, but in all cases, the young patients see them in the same general space and perceive them to be part of a unified practice with pediatricians. "It's great to be able to communicate with doctors face to face, rather than playing phone tag," said Kristen Homan, a social worker who works at Pediatric Health Care Associates in Peabody.
Some pediatricians like the concept, but see practical constraints. Dr. Andrew Baumel of Framingham Pediatrics said his practice, with about six pediatricians, would become too crowded if it made room for a mental health clinician. Also, some insurance carriers cover almost all pediatric services but pay for limited mental health services by selected providers. Baumel said he would hate to tell patients' families that the doctors' visits for throat cultures and check-ups are covered by insurance, but not the psychotherapy offered in the same space.
Other pediatricians note that not every mental health clinician is a good match for every patient, requiring outside referrals anyway.
Still, many clinicians who work with children say incorporating mental health services within a pediatric practice has profound advantages. Barbara Weinberg, a psychologist who goes to a Wellesley pediatric practice once a week, said children are often more relaxed talking to someone in a familiar setting they have known for years, and the therapist and doctor can easily consult with each other.
Lisa Liss, a part-time pediatric nurse practitioner who specializes in mental health issues, is also a convert to this model. In her office within a Newton pediatric practice, she sees youngsters with attention-deficit hyperactivity disorders and anxiety, among other issues, and loves the ability to immediately consult with the pediatrician regarding patients' other health issues that could be affecting their behaviors — or vice versa. She said there's something special when a pediatrician's office can be a place that lessens children's anxiety or lifts their dark moods.
"There's nothing like a kid who is miserable and then seeing them again and they have a smile on their face," Liss said.
Patricia Wen can be reached at firstname.lastname@example.com.


text:
Hi all :-) I am so excited to have been asked to take part in this Simon Says Stamp Summer Release Blog Hop ! THANKS HEIDI :-)
Are you enjoying the hop ?? You should have arrived here from the super talented Jess Larsen, if not you may need to head back to the beginning at the SIMON SAYS STAMP BLOG
I was visiting the Simon Says Stamp Store recently ( which was a dream come true :-))and we had all of these new release products scattered all over the table and Heidi, Steph, Sarah, Me, and several other behind the scenes staff members popped in to play with them ,,,, what fun !! It was lovely to see everyone enjoying using them and seeing what everyone made :-)
I have lots of favourites, it is really impossible to choose, but, Simon has a special place in my heart, isn't he adorable, and I just thought this 'Seasonal Simon' image was so perfect with the 'Sunshine' die. You can see the WHOLE SUMMER RELEASE HERE
I have made this card for Maddy. Maddy is a brave young girl who is battling Acute Myeloid Leukaemia. I will add details below if you would like to join in with the card drive.
I am sure she would love to know that people from around the world are thinking of her and sending her 'healing vibes' :-)
I diecut the Sunshine die from the base card and sprayed with Studio Calico 'Sunshine' Mister, very sparkly IRL, I then sponged some Wild Honey DI around the edges. I will link all the products I used at the bottom of this post.
I have been feeling a bit jet lagged and ran out of time, but I will finish the inside properly before posting :-)
This 2nd card is for Maddy's family. I can only imagine what an anxious time they must be going through.
I used this fabulous Full Cards Hexagon die to create a mask and then sponged Wild Honey Distress Ink over it, I also colored some card with the same ink and die cut some hexagons to pop up for added dimension.
I love this Flower Friend die, there is a stamp set to go with it but I liked the simple white 'daisy' look for this one so left it plain, I cut the 'Be Sentiment' die twice to make an extra 'e', used a 'Be Sentiments' clear stamp and added a little bee from a 'Circle Friends' set,,
Simon will be giving away a grab bag filled with stamps, paper, and embellishments to one randomly selected commenter on every blog in the hop. The giveaway will remain open until Thursday June 6/6 at 9:00pm EST.
I love surprises, don't you ?? I am sure these bags will be filled with oodles of crafty goodness :-)
The next stop on the hop is the amazingly talented Sarah Moerman
I am sure she will have made something FABULOUS as always !! :-)
I am sure she will have made something FABULOUS as always !! :-)
Thanks for joining in the hop ! I hope you enjoy it and good look in the 'Grab Bag' draws ! :-)
For more information CLICK HERE
Simon are offering a $100 voucher which you could win if you send Maddy a card ! :-)
Simon are offering a $100 voucher which you could win if you send Maddy a card ! :-)
Please send cards to
St. Jude Children's Research Hospital
Maddy Justice-Patient
262 Danny Thomas Place
Attention Mail Stop 108
Memphis, TN 38105
Thank You xxx
Links to products I used.
Links to the whole Summer Release Products
Hope you have a fabulous day !
Happy Hopping !
Lols x x x


text:
Tlaloc was an important deity of rain and fertility of the Aztec mythology. Aztec people were living in Mexico during the fifteenth and sixteenth century.Tlaloc was a man wearing a net of clouds, a crown of heron feathers, and carrying rattles to make thunder.
Sacrifices were offered to the rain god Tlaloc in order to encourage rain.


text:
Sidify Apple Music Converter for mac 2020 is a well-designed audio converter for iTunes music for Mac users. It can remove DRM from Apple Music songs, and makes it possible to save them in MP3, AAC, or WAV format to either your local computer or your music players. Besides, you can use Sidify Apple Music Converter to convert audiobooks and M4P music. It is a straightforward app that any user should get the hang of in moments.
Wanna save Apple Music songs to local computer or play it on your music player even after subscription? Apple music does not have such option for you, but with Sidify Apple Music Converter, you could make it come true. Sidify Apple Music Converter allows you removing DRM from Apple music for free enjoyment.
Sidify Apple Music Converter Mac Features:
Remove DRM from Spotify Music!
Is it possible to extract MP3 files from Spotify music? Or is there any way to download Spotify music for enjoying on car player? Many Spotify users may face with such question. Here Sidify Music Converter for Spotify helps you solve the above problems. It can remove DRM from Spotify music thus to make it better to enjoying music on the go.
Convert Spotify Music and Apple Music to MP3 or AAC Audio Files
It is a good idea to enjoy streaming music in .mp3 file without Internet connection. Sidify allows you to choose either MP3 or AAC as output format and offers options for your customization.
- For Apple Music subscriber, you are able to download and convert Apple Music to MP3 or AAC with Sidify Apple Music Converter.
- For Spotify subscriber, Sidify Music Converter for Spotify allows you download Spotify music as MP3, AAC or WAV.
100% Lossless Quality & Preserve ID Tags
Sidify retains the original quality of Spotify music and Apple music, providing the excellent listening experience. Thanks to the industry-leading ID3 tag identification technology, Sidify Music Converter can identify the input Spotify music or Apple music files quickly and get music information automatically after conversion. ID3 tags like Title, Artist, Album and Genre will be preserved.
5X Faster Speed; Easy to Use
With an innovative DRM decrypting technique, Sidify enables maximum 5X speed when converting Spotify music as well as Apple music to MP3 or AAC format. You can also adjust the conversion speed according to your requirement. Sidify music converter comes with an intuitive interface which make it possible for every user to use Sidify application handily. No extra hardware or virtual drive needed.
- Mac OS X Kodiak, 10.0 (Cheetah), 10.1 (Puma), 10.2 (Jaguar), 10.3 (Panther), 10.4 (Tiger), 10.5 (Leopard), 10.6 (Snow Leopard), 10.7 (Lion)
- OS X 10.8 (Mountain Lion), 10.9 (Mavericks), 10.10 (Yosemite), 10.11 (El Capitan)
- macOS 10.12 (Sierra), 10.13 (High Sierra), 10.14 (Mojave), 10.15 (Catalina), 11.0 (Big Sur) and Later Version.
- Supported hardware: Intel or PowerPC Mac.


text:
Learn more at:
To improve the video quality, click the gear icon and set the Quality to
1080p/720p HD.
For more information, see http://www.oracle.com/goto/oll and http://docs.oracle.com
Copyright 2020 Oracle and/or its affiliates. Oracle is a registered trademark of Oracle and/or its affiliates. All rights reserved. Other names may be registered trademarks of their respective owners. Oracle disclaims any warranties or representations as to the accuracy or completeness of this recording, demonstration, and/or written materials (the "Materials"). The Materials are provided "as is" without any warranty of any kind, either express or implied, including without limitation warranties or merchantability, fitness for a particular purpose, and non-infringement.
Take the opportunity to connect and share this video with your friends and family if you find it useful.


text:
Sometimes when there are duplicates, the newer question gets answers that are relevant and weren't mentioned in the first question.
If merging is not suitable (for instance, a relevant answer would get hidden in a ton of other answers), I think that adding a link on the old question to the new question might be helpful for people looking for answers.
Especially if the question is asked on a different time (meaning a different crowd answering) or asked a big while after the first question (new developments might have occurred.)
Something like this might serve this purpose better, but looks a lot more complex to implement correctly. What I propose should be easy to implement as a temporary measure at least.


text:
Share buybacks are all the rage. In 2004 companies announced plans to repurchase $230 billion in stock—more than double the volume of the previous year. During the first three months of this year, buyback announcements exceeded $50 billion.1 And with large global corporations holding $1.6 trillion in cash, all signs indicate that buybacks and other forms of payouts will accelerate.2
In general, markets have applauded such moves, making buybacks an alluring substitute if improvements in operational performance are elusive. Yet while the increases in earnings per share that many buybacks deliver help managers hit EPS-based compensation targets, boosting EPS in this way doesn't signify an increase in underlying performance or value. Moreover, a company's fixation on buybacks might come at the cost of investments in its long-term health.
A closer inspection of the market's response to buybacks illustrates these risks, since some companies' share price declined—or didn't respond at all. For example, Dell's announcement earlier this year that it would increase its buyback program by an additional $10 billion didn't slow the decline of its share price, which had begun to slide because of worries about operating results.
Buybacks aren't without value. It is crucial, however, for managers and directors to understand their real effects when deciding to return cash to shareholders or to pursue other investment options. A buyback's impact on share price comes from changes in a company's capital structure and, more critically, from the signals a buyback sends. Investors are generally relieved to learn that companies don't intend to do something wasteful—such as make an unwise acquisition or a poor capital expenditure—with the excess cash.
EPS may be up, but intrinsic value remains flat
Many market participants and executives believe that since a repurchase reduces the number of outstanding shares, thus increasing EPS, it also raises a company's share price. As one respected Wall Street analyst commented in a recent report, "Share buybacks . . . improve EPS, return on equity, return on capital employed, economic profit, and fundamental intrinsic value." At first glance, this argument seems to make sense: the same earnings divided by fewer shares results in a higher EPS and so a higher share price. But this belief is wrong.
Consider a hypothetical example that illustrates how transferring cash to shareholders creates no fundamental value (setting aside for now a buyback's impact on corporate taxes), because any increase in EPS is offset by a reduction in the P/E ratio. The company's operations earn €94 million annually and are worth €1.3 billion.3 It has €200 million in cash, on which it earns interest of €6 million (Exhibit 1). What happens if the company decides to use all its excess cash to repurchase its stock—in this case, a total of 13.3 million shares?4
Analyzing the value of a share buyback (excluding tax)
Since the company's operations don't change, its return on operating capital is the same after the buyback. But the equity is now worth only €1.3 billion—exactly the value of the operations, since there is no cash left. The company's earnings fall as a result of losing the interest income, but its EPS rises because the number of shares has fallen more than earnings have. The share price remains the same, however, as the total company value has fallen in line with the number of shares. Therefore, the P/E ratio, whose inputs are intrinsic value and EPS, drops to 13.8, from 15. The impact is similar if the company increases debt to buy back more shares.
Why does the P/E ratio decline? In effect, the buyback deconsolidates the company into two distinct entities: an operating company and one that holds cash. The former has a P/E of 13.8; the latter, 33.3.5 The P/E ratio of 15 represents a weighted average of the two. Once the excess cash is paid out, the P/E will go down to that of the operating company, since the other entity has ceased to exist. Thus the change of EPS and P/E is a purely mechanical effect that is not linked to fundamental value creation.
Taxes shield value from leverage
When corporate taxes are part of the equation, the company's value does increase as a result of share buybacks—albeit by a small amount—because its cost of capital falls from having less cash or greater debt. The cost of capital is lower when a company uses some debt for financing, because interest payments are tax deductible while dividends are not. Holding excess cash raises the cost of capital: since interest income is taxable, a company that maintains large cash reserves puts investors at a disadvantage. In general, having too much cash on hand penalizes a company by increasing its cost of financing.
The share price increase from a buyback in theory results purely from the tax benefits of a company's new capital structure rather than from any underlying operational improvement. In the example, the company incurs a value penalty of €18 million from additional taxes on the income of its cash reserves.6 A buyback removes this tax penalty and so results in a 1.4 percent rise in the share price. In this case, repurchasing more than 13 percent of the shares results in an increase of less than 2 percent. A similar boost occurs when a company takes on more debt to buy back shares (Exhibit 2).
Analyzing the value of a share buyback (including tax)
We can estimate the impact on share prices from this tax effect (Exhibit 3), but historical and recent buyback announcements typically result in a much bigger rise in share price than this analysis indicates. Research from both academics and practitioners consistently finds that companies initiating small repurchase programs see an average increase in their share price of 2 to 3 percent on the day of the announcement; those that undertake larger buybacks, involving around 15 percent or more of the shares, see prices increase by some 16 percent, on average.7 Other, more subtle reasons explain this larger positive reaction to share buybacks.
Impact of buyback using debt on share price
Sending signals
The market responds to announcements of buybacks because they offer new information, often called a signal, about a company's future and hence its share price.
One well-known positive signal in a buyback is that management seems to believe that the stock is undervalued. Executives can enhance this effect by personally purchasing significant numbers of shares, since market participants see them as de facto insiders with privileged information about future earnings and growth prospects. A second positive signal is management's confidence that the company doesn't need the cash to cover future commitments such as interest payments and capital expenditures.
But there is a third, negative, signal with a buyback: that the management team sees few investment opportunities ahead, suggesting to investors that they could do better by putting their money elsewhere. Some managers are reluctant to launch buyback programs for this reason, but the capital market's mostly positive reaction to such announcements indicates that this signal isn't an issue in most cases. In fact, the strength of the market's reaction implies that shareholders often realize that a company has more cash than it can invest long before its management does.
Therefore, the overall positive response to a buyback may well result from investors being relieved that managers aren't going to spend a company's cash on inadvisable mergers and acquisitions or on projects with a negative net present value. In many cases, a company seems to be undervalued just before it announces a buyback, reflecting an uncertainty among investors about what management will do with excess funds.
Such shareholder skepticism would be well founded. In many industries, management teams have historically allocated cash reserves poorly. The oil industry since 1964 is one example (Exhibit 4): a huge price umbrella for much of this period, courtesy of the Organization of Petroleum Exporting Countries (OPEC), provided oil companies with relatively high margins. Nevertheless, for almost three decades the spread between ROIC and cost of capital for the industry as a whole was negative. Convinced that on a sustained basis the petroleum industry could not deliver a balanced source of income, many companies committed their excess cash to what turned out to be value-destroying acquisitions or other diversification strategies. For example, in the 1970s, Mobil bought retailer Montgomery Ward; Atlantic Richfield purchased Anaconda, a metal and mining company; and Exxon bought a majority stake in Vydec, a company specializing in office automation. All of these cash (or mostly cash) acquisitions resulted in significant losses.
A failure to recoup the cost of capital
With cash levels at an all-time high and mergers on the increase, managers risk repeating past behaviors. Clearly, for cash-rich industries with insufficient investment opportunities, a critical task for boards will be forcing management to pay out the excess cash sooner rather than later. But by allowing management compensation to be linked to EPS, boards run the risk of promoting the short-term effects of buybacks instead of managing the long-term health of the company. Similarly, value-minded executives in industries where good investment opportunities are still available must resist the pressure to buy back shares in order to reach EPS targets.
In most cases, buybacks create value because they help improve tax efficiency and prevent managers from investing in the wrong assets or pursuing unwise acquisitions. Only when boards and executives understand the difference between fundamental value creation through improved performance and the purely mechanical effects of a buyback program on EPS will they put share repurchases to work creating value.


text:
For immediate release: Wednesday, August 20, 2008
Boston, MA — The cost-effectiveness of vaccination in the United States against human papillomavirus (HPV), a sexually-transmitted virus that causes cervical cancer, will be optimized by achieving universal vaccine coverage in young adolescent girls, by targeting initial "catch-up" efforts to vaccinate women younger than 21 years of age, and by revising current screening policies, according to an analysis by Harvard School of Public Health (HSPH) researchers in the August 21, 2008 issue of The New England Journal of Medicine.
In the U.S. in 2007, cervical cancer developed in more than 11,000 women and killed 3,600 women. Cervical cancer is caused by infection with high-risk "oncogenic" types of HPV, also associated with other cancers. Worldwide, HPV types 16 (HPV-16) and 18 (HPV-18) cause approximately 70% of cervical cancer cases. Vaccines against HPV-16 and HPV-18 appear to be highly efficacious in preventing HPV-16 and HPV-18 infections and cervical disease in females who have not previously been infected with these types. The quadrivalent vaccine currently licensed in the U.S. also prevents low risk HPV types 6 and 11 (HPV-6 and HPV-11) infections, which are responsible for most genital warts and juvenile-onset recurrent respiratory papillomatosis (JORRP), a rare but severe respiratory condition usually diagnosed in infancy that may be related to a mother's infection with genital warts.
Cervical cancer prevention in the U.S. has traditionally relied on a screening program involving frequent cytology (Pap smear) and/or HPV DNA testing, recommended annually or biennially for sexually-active women. HPV vaccination raises questions regarding the age at which to vaccinate females, target groups for temporary catch-up programs, and appropriate changes to screening practices.
Jane Kim, assistant professor of health decision science in the Department of Health Policy and Management at HSPH, led the study which involved synthesizing epidemiologic, clinical, and demographic information using sophisticated computer models that simulate the U.S. population. The models were used to predict the health and economic outcomes of HPV vaccination of preadolescent girls (i.e., 12 years of age) and catch-up vaccination over a 5-year period for girls and women over 12 years of age, in the context of routine cervical cancer screening; strategies differed in the upper age of catch-up programs, to ages 18, 21, or 26 years. While the study focused on the prevention of cervical disease, the investigators also examined the benefits of the quadrivalent vaccine on genital warts and possible benefits of averting other HPV-related cancers and JORRP.
A novel part of this study involved examining how uncertain scenarios might impact the appropriate policies for the U.S., such as the duration of vaccine protection and whether or not a booster dose will be needed, whether or not the vaccine will also prevent infections with other HPV types, and what might occur to rates of cancer if women change their screening practices after being vaccinated.
Kim and co-author Sue Goldie, professor of health decision science at HSPH, found that vaccination against HPV-16 and HPV-18 would lead to lower cervical cancer rates and be economically attractive if high coverage can be achieved in the most important target group of 12-year-old girls, and if vaccine protection against infection lasted for at least 20 years. The study predicted that if most 12-year-old girls were vaccinated, their future cervical cancer screening could begin somewhat later than currently recommended and be conducted less frequently (i.e., every 3 to 5 years).
At an additional expense, a catch-up program for girls between 13 and 18 years of age appears to offer benefits and be reasonably cost-effective compared to other vaccine programs in the U.S. The cost-effectiveness of extending the catch-up program to 21 years of age is less certain, and depends on whether the vaccine will eventually be proven to prevent other cancers caused by HPV-16 and -18. Including women to age 26 was consistently not cost-effective because the vaccine is quite expensive, but is less effective in women who are already sexually active. Current CDC recommendations and a recent CDC summary suggest routine vaccination of girls aged 11-12 and catch-up vaccination of girls and women aged 13 to 26.
There is no absolute criterion that dictates whether a vaccine or public health intervention is cost-effective in the U.S.; however, most policy-makers agree that interventions that have a cost-effectiveness ratio less than $50,000 per quality-adjusted life year (QALY) gained, a metric used to describe cost-effectiveness, are very good value for money. While vaccination of 12-year-old girls was less than this threshold, vaccinating girls into their mid- to late-20s as part of a catch-up program was not.
Kim and Goldie caution that these results could change if future information shows that vaccine protection does not last, or if there is an unexpected increase in other cancer causing HPV types not included in the vaccine.
Kim emphasizes, "Our results are the best prediction we can make with the information available now, but it will be critical to update the analysis as we learn more about the long-term vaccine effects."
An editorial, "Human Papillomavirus Vaccination — Reasons for Caution," by Charlotte J. Haug, MD., PhD. Editor in Chief of the Journal of the Norwegian Medical Association, also appears in this issue of NEJM. A long-term followup study of HPV vaccination is underway in Norway.
Kim and Goldie also emphasize that it will be important to achieve high coverage among all 12-year-old girls, and not just a small subset, and to ensure girls are screened for cervical cancer beginning in their early- to mid-20s, since HPV types not included in the vaccine can still cause cancer. From a public health perspective, if women who are at continued risk for HPV infection and cervical cancer are not regularly screened, and if only some adolescents have access to the vaccine, cervical cancer rates in the U.S. may not change. Ensuring U.S. women equal access to both preadolescent vaccination and adult cervical cancer screening, is imperative.
The analysis was funded by the National Cancer Institute, the Centers for Disease Control and Prevention, and the American Cancer Society. Similar work in developing countries was funded by the Bill and Melinda Gates Foundation.
The article, "Health and economic implications of HPV vaccination in the United States," will appear in The New England Journal of Medicine, August 21, 2008, Volume 359, Number 8.
Robin Herman
Harvard School of Public Health
677 Huntington Ave.
Boston, MA 02115
Harvard School of Public Health is dedicated to advancing the public's health through learning, discovery, and communication. More than 400 faculty members are engaged in teaching and training the 1,000-plus student body in a broad spectrum of disciplines crucial to the health and well being of individuals and populations around the world. Programs and projects range from the molecular biology of AIDS vaccines to the epidemiology of cancer; from risk analysis to violence prevention; from maternal and children's health to quality of care measurement; from health care management to international health and human rights.


text: You do not become the best variety show in Las Vegas by being like all the others. V The Ultimate Variety Show has consistently been voted the best variety show in Las Vegas because it continues to push the boundaries and be the most innovative variety production on the Strip. Recently celebrating its 11th year on stage, V The Ultimate Variety Show, has something for everyone. From its opening at The Venetian to its current venue at V Theater, inside the Miracle Mile Shops of Planet Hollywood, V The Ultimate Variety Show has wowed audiences with its ever changing cast of incredible performers. Featuring the comedic hosting of world famous juggler Wally Eastwood to the beauty and death defying skills of the Skating Aratas, V has it all. There is no need to go see three different shows to experience the best of Las Vegas. V The Ultimate Variety Show is perfect for audiences of all ages, and it makes an excellent addition to any vacation.


text:
When it comes to coloring your hair you can either do it yourself at home, or for a fuss-free professional result, visit a salon. If you decide to go for a salon color there are a few questions that you need to ask before booking the appointment, such as:
- How long will it take?
- How much will it cost?
- How do I look after the color?
- How much maintenance will a certain color need?
It is a good idea to have a hot oil treatment the day before having your hair colored. This will ensure that your hair has equal porosity at the roots and ends and will give you a more even result.
Hair Color Types
There are a variety of different hair dyes available and the best one for you depends on the condition of your hair and the result of the color that you wish to achieve. For an expert opinion on the best dye to use, talk to your hairdresser.
A natural or vegetable color rinse will coat the hair shaft with a new color that is not permanent and will not alter the structure of your hair or change the color. Natural rinses are great for conditioning your hair while enhancing your natural color and adding sheen.
Temporary colors come in sample size packets and mousse cans and will usually wash out after one shampoo. They come in a variety of colors and can include bright colors such as purple and blue.
A semi-permanent has no peroxide, so it can't lighten your hair, but can last up to 8 washes. Semi-permanent color works by staining the hair shaft and can cover grey hair.
Demi-permanent colors will add enriched color and shine and will blend away grey hair. They have a lower level of peroxide than permanent color and will have less structural impact on your hair strands. A demi-permanent color will gradually fade over 4 to 6 weeks.
Permanent hair color will lighten your natural color up to 3 shades and will cover grey. It will remain in your hair until it grows out.
Color Effects
The quality and range of hair color has improved significantly over the last few years and can be used to achieve a variety of effects that can leave your hair looking natural or funky.
Highlights are achieved when a section of hair is lightened, usually just a few strands, and can be used for a natural, sun kissed look or something more bold.
For highlights with no re-growth, ask to have your hair part back combed and the highlights added underneath the part. Your highlights will look natural and won't require root touch-ups.
Lowlights are strands of hair that are darker than your base color and are used to add texture to your hair or for a more dramatic look.
Semi-permanent glosses add shine and make hair look healthy and fade out naturally so there is no need for touch-ups.
When making changes to your hair, don't forget to think about changing your make-up and wardrobe as well. A different hair color may enable you to get away with colors that you've never tried before.
Keeping Your Color
To make the most of your new color it is important to look after it. There are a number of tips and tricks to keeping your hair color and the most effective are usually the most basic.
Regular trims will keep your color looking fresh and will get rid of any damaged or faded ends. When your ends are trimmed regularly your hair will look healthier which in turn will make your color stand out.
Washing with a shampoo and conditioner that is designed for colored hair, or better yet, a shampoo and conditioner specially designed for the shade of your hair will also allow you to hold onto your color successfully. Try to limit washing your colored hair to three times a week and wash with warm water. Don't wash your hair until at least 24 hours after coloring, and if you can, wait at least 48 hours. If you style or swim regularly use a clarify shampoo once a week to get rid of any build up.
Add a spoonful of vinegar to a glass of water and rinse through your hair after washing. A vinegar rinse will help close the cuticle and retain your color.
Regular treatments such as a hair mask once a week and a hot oil treatment once a month will make sure that your hair is well moisturized and help with fading. Another great way to prevent fading is to use hair products that contain sun protection so that the sun does not fade your hair.
Over drying with heated styling tools will fade color fast. Try to use them as little as possible and always use a heat protection styling product beforehand.


text:
Advanced Search
Networking & Wireless | News
Ohio University is deploying a new 802.11n wireless local area network (LAN) with 135 wireless access points to accommodate the explosion of mobile devices accessing the network.
The university found that its existing multivendor 802.11a/b/g wireless LAN couldn't handle the increasing number of devices, as many as 32,000 at a time, or the high density of users in classrooms, residence halls, and other common areas.
"Wireless is by far the most popular access method on our campus and students are bringing more mobile devices to campus than ever," said Brice Bible, chief information officer for Ohio University, in a prepared statement. Students at the university use an average of two wireless devices each, and faculty and staff use even more.
After a successful pilot deployment in five campus buildings, the university committed to installing an Aruba wireless LAN solution across its 1,773-acre main campus and five regional campuses. The new wireless LAN will include 4,500 Aruba AP-105, AP-124, and AP-135 access points and 16 Aruba M3 controllers, as well as Aruba's AirWave network management system for monitoring, reporting, and network control.
The new wireless LAN will support greater use of wireless devices on campus. Ohio University uses wireless technology for enhanced learning activities in the classroom, for distance learners accessing on-campus classes through Web conferencing sessions, and for mobile access to the library's catalog and digital materials. The university's Academic Research Center was designed to use the 802.11n wireless network technology to provide students with access to virtual labs, class content, and collaboration tools, and the university's student center uses the wireless LAN for secure point-of-sale transactions. The IT department is also "developing a complete mobile application strategy to fully leverage the new Aruba WLAN," according to Aruba.
The university reported it plans to extend wireless access to its athletic facilities in February 2013 and to all locations on all campuses by January 2014.
About the Author
Leila Meyer is a technology writer based in British Columbia. She can be reached at [email protected].
View More Webcasts
View More Whitepapers